webrunner5

I'm not attacking him because his age, my answer was for his reply, the reply sounds like an old grumpy man just putting words without any sense, just for trying to be grumpy. I respect and work with a lot of people older than me, and no one ever answer me like this guy. I even asked the same question to some directors and DPs and helped me a lot with a nice and kind approach. Let's finish this here, please.
Also, of course I can do some Youtube/Vimeo search, BUT if I'm asking here is because I want to know the opinion of the people around here. I'm looking for "curated" content by users of this forum, people who makes videos and have nice opinions. For me at least this is a nice and different approach to just "looking on youtube".

What's wrong with you angry old man? The other users replied with nice and good examples, and you? Take care of your heart, don't be that old angry guy.
Thanks everyone for that awesome examples, it's always nice to check and share nice works. What im looking here is nice examples to share with my team and take references for color grading for this camera models. 
Thanks!
 
 

And here's some totally absolute ridiculous answer to Lorian.
Here's one of my first videos ever, i've started shooting with original a7s and all of examples here was shot in 1080p (or even 720p). All of that was shot very run-n-gun style, handheld, no lighting, with very basic knowledge of production:
and something like that u never be able to shoot with gh5 (very dim conditions):
There's more examples on my vimeo chanell include my very first video with a7s) Heres my advice: keep in mind that its you who create a look not a tools; otherwise ull end up being really ridiculous)

Wow, some great a7s videos. Here's another one I found a few months ago that is pretty impressive...
And here is another one that I always felt was pretty impressive for a test video...
And one more...
 

The guy joins the forum, looking for pointers to clips that in the forums' users' opinions are cinematic-looking and he gets greeted like that by one of the moderators. Wow - I bet he'll be recommending EOSHD to his pals as a real friendly and helpful place.

I have done some testing around the house and garden with the DP3Q and the colors and details are just out of this world.
Much better than I got with the SDQ due to the awesome 50mm lens.
Its Macro capabilities is very fun and welcome as well.
I knew it would wipe the floor detail wise with the other high mp cameras that I have had/have.
But that it would be this much clearer not only in tonality.. I'm blown.
AF is pretty good to. Better than excepted but still slow of course compared to a a6000 or something.
Focus ring is very smooth. Screen is nice. Grip is.. there... at least

I will hopefully have some interesting samples to post soon.

 

The F3 has Slog1, a radically different curve to both Slog2 and Slog3. I remember plenty of people struggling with SLog3 on the F55, for example, who had come from Alexas and not put the time in to learn the curve.
Exposing 'correctly' using a LUT is entirely different to learning how the curve works and placing your exposure where you want it. Which you need to do. I was disappointed with the noise and dynamic range out of Alexa's until I learned how LogC works and exposed accordingly.
CineAlta is Sony, so they have Slog2 or 3. They're not pseudo-logs. Canon's C-log started as a pseudo-log. It's morphed since then, but it's original intention was to have a 'lightweight' log that was easy to grade and get a good image out of quickly. It comes at the expense of dynamic range (though Canon cameras also use digital gain for ISO, rather than the Sony/Alexa/RED method of shifting mid-point, which also affects both dynamic range and noise). Sony's intention is a more aggressive curve that gives you the maximum dynamic range possible. It's a more aggressive curve than the Alexa's LogC.
If you expose it with knowledge of SLog and how it works and where it's best to expose the things you want exposed, it looks great. If you treat SLog3 like C-log or LogC you're going to think it sucks.
That's not really a fault on the manufacturer, and realistically there's nothing forcing you to buy or use a Sony camera if you're dead-set against it. Many continue to at all levels of production, despite how supposedly terrible they are.
 
It's a different curve to all of those. You should learn any curve you're going to be shooting on and expose for that particular curve as they're all different and they all put their exposures at different values and hold more or less information in some areas. SLog3 (and 2) are much more aggressive curves than all of those. None of those other curves put skin tones at 35 IRE.
I've honestly never had an issue with Sony's white balance, so don't know what you're talking about. 
Do you mean AWB..? 
Look, I ain't no Sony fanboy, but I've used Sony's a lot (just as I have Alexa's and Reds and Panasonics). But I spend more than 5 minutes testing how to appropriately expose cameras. Of course I have camera preferences. But I'm a DP who shoild be able to make any camera look good.
So when the best the rental house can do on our budget is an F5 or F55 or perhaps an FS7 (and/or I have to use my A7sII in some capacity), I'm going to say 'sure, I can make them look good' because I know I can. I'm not going to complain because Sony make 'such terrible cameras' (that somehow only a small subset of people seem to have trouble with...). I don't really like the images out of the C300. I'm not a fan of Canon's orange tints and ultra-warm skin tones generally. But I understand it and can work with it if necessary. I'm not going to hit up an Internet forum and talk about how bad Canon is because I don't like their camera as much.

I have never had any issues with BMD-log, Red-log, C-log, J-log, any log really. Accept S-Log. I can use it but it takes much longer.
Maybe one do need to spend fifty times longer learning it. But that sounds like really bad log in my ears.
To me it sounds just like when people defend Sonys weird white balance with having to learn it... thats like having to learn how to remove the lens cap. A simple and fundamental function that is super easy on all other cameras... Nah.. it sucks imo. Just badly done.
And I know some will be tempted to say that its me that sucks.. dont bother. If I can set a perfect WB on any camera in the world but sometimes struggle on the Sony, it sure isn't me that needs tweeking.

The sensors are different, though they use the same CFA. And really, 'not nearly as good' has a slightly different meaning when talking about the F65. You're certainly right, but the F55 has been used extensively on numerous ultra high-end TV shows and feature films and I would posit that plenty here wouldn't even know.
But that's kinda the point. Canon has tweaked Clog to get more out of it, but it's essentially designed as a 'pseudo-log' for consumer use that was able to hold more dynamic range than would otherwise be possible, however still be workable in 8-bit and be easy to pull it back to 'normal'.
S-log is entirely different.
And that's the problem. You really need to learn your log curves to make things look 'right' - otherwise you shouldn't shoot log. Many people did (and still do) come from Canon and attempt to apply their basic knowledge of Canon log to Sony footage and then get upset when it doesn't work the way they want. 
S-log3 puts skin tones at about 35-40%IRE or something. Which is super low. You look at that in your live view, assume the skin tones are underexposed, crank the exposure so they look right, and then when you come to grade it can't figure out why your skin tones look so bad.
Turns out S-log doesn't put as much information into the exposure where you've ended up putting your skin tones, so of course they start to look ugly. Then you blame Sony for not being able to make a camera that looks any good.
Man, it's cheaper than an Alexa SXT. Alexa, which uses SxS cards or needs Codex cartridges and a more expensive card slot for raw, doesn't have a full frame sensor, doesn't shoot in 8k and doesn't have auto focus.
 

OliKMIA you pretty much described my gear journey to a "T". I started with the Canon HV20 and then later the Canon 7D because that's what my employer provided. When it came time to buy my own camera I got the Panny GH1. At the time mirrorless micro-four thirds cameras weren't taken very seriously. I'd show up to gigs with my adapted Voigtlander, Pentax, and Sigma glass and get mocked because I didn't have a 5DMKII + Canon EF 70‑200mm f/2.8L. Apparently I couldn't be a "real" filmmaker or photographer unless I had red lining on my lenses and a hefty battery grip. I contemplated going with Canon if only to secure steady work as the bias for them runs deep in our industry. Then, the Driftwood hack happened and in the words of the Canadian studio poet Drake "Nothing was the same." As the years went by it became more and more clear that DSLR video wasn't a top priority for Canon. Their increasing price points coupled with lackluster features kept me from jumping on the brand-wagon. I've seen less and less postings on gig boards specifically requesting Canon gear and more being open to overall camera capabilities. Now years later I'm ready to buy my first true pro-cine camera. The Panny EVA , Sony FS7, and BM Ursa Mini Pro make up my shortlist. It's not that Canon C series cameras don't provide adequate results but rather that my trust in Canon as a brand is a bit tarnished. Partly because of how Canon die-hards treated me early on, and partly because of how little I've seen them innovate versus their competitors. 

Yea pro's actually can't focus at all, they need to outsource that to a focus puller
 

Hours spent trying to figure it out and not once did I think to update... Your suggestion was spot on. Thank You

I'm excited about the one that is supposed to cost £1000 as it lessens the "how f***ing much? for a f***ing phone?!"impact from the other half when I tell her I'm ordering a RED Hydrogen 

Not me.

@Mattias Burling
I shoot horse sports (including World Cup events) for years now...NEVER seen a mirrorles camera in the hands of a press or horse photographer.
The German market in horse sports event area is clearly dominated by Canon. Considering this fact, I have to agree @Andrew Reid, saying Canon missed some good chances...It did...Though they offer one of the most reliable video AF methods at the moment, they missed the opportunity to get the Canon photographers - using their DSLRs - into their "video boat". 
OK, there is a big separation in Germany between photo and video journalism, but still...Canon did nothing to inspire or to educate Canon DSLR owners to shoot video. The MJPEG codec is for 99,9 % of my colleagues BS, they simply don't have the computering power to edit this kind of footage and most of them simply refuse to handle this big amount of data...

@Andrew Reid
Yes, there is a separation between "pro" journalism and prosumer/enthusiasts oriented market. But - as I already said - even the video journalism is in Germany completely in hands of small sensor cameras (broadcast standard, 3CCD, etc.). Canon XF200 --> 305, etc. rule with their overpriced devices and mushy image quality. During the last three months, I've even seen some Sony EX1...
BUT: These facts show too, that the "mirrorless/DSLR video revolution" is more a parallel universe created by loud first movers than a reality nowadays. Dedicated video cameras rule - probably.at max. 3  percent of video market. Rest of video market is ruled by smartphones...

I don't consider removing features like Canon LOG a committed spec bump for video users. The 1DX II is the kid at school who could have been president if only he did his homework.
So two things going on here... the market for professional photo journalists and sports shooters... And the market for consumer electronics and televisions.
In the photo journalist market Canon and Nikon rule and it is very hard to break the deadlock, props for Sony to try with the A9 but it's a first effort in a VERY long haul, especially to break the stranglehold of the Canonikon lenses.
The consumer electronics market, the 1DX and D5 are nowhere, they don't often appear in shops or even on Amazon, and that is where 4K is most important for Sony and Panasonic, because it doesn't just sell cameras, it sells TVs and other AV equipment as well.
Canon don't make TVs so they don't think they need to be a part of the market.
Where this will hurt them is with the pro video and rental market, and with us enthusiasts... They are dropping the ball. The C300 II wasn't as successful vs the FS7 and FS7 II, as Canon would have hoped for, and it has already had a big price drop or two. The C300 is old, past it, people are selling them in large quantities... how do I know that? Because the used price has fallen so much (increased supply vs falling demand). The C200 II is the real replacement for the C300 but the reception has been lukewarm and the codec isn't competitive vs Sony. Perhaps they will drop the C300 II price further or quickly bring out a Mk III instead and drop the C200 down a peg.
The reason the C-EOS camcorders are going to struggle due to poor video on Canon DSLR range is complex but all to do with the eco-system of EOS bodies, EF lenses, halo effect, marketing, brand perception, upgrade paths, up-selling, enthusiasts turning pro, all sorts of factors.
Canon need to get a grip and fast.

I covered the European Championships in horse racing, jumping, dressage, etc. A full week.
Among the pro shooters there where 1 using mirrorless. Me.

All others had Canon. I walked around the whole arena and spotted maybe 5 Nikon. The rest was Canon.
0 Sony. 0 Panasonic.



Among the friends and family of the riders, their coaches, etc there where some others. 1 Olympus, 3-4 Panasonic.
And surprisingly at least 5 DJI Osimo or what ever its called..
And I understand them 100%. My Fuji X-Pro2 and X-T20 worked perfectly to capture the action. But that is because I know where the horses will be. Where they will turn, jump and so on.


But these guys and gals (lots of women pro photographers among horses) might have to capture a soccer game tomorrow. And then the tracking of my Fuji wouldn't cut it. I worked covering the veterinarians and have not need for fast action.

I am still an avid 1DC user mainly because it hits my checklist of needs and I love the image science. The sad truth is Canon will continue to dance around in the market between DSLR and 'Video Cameras' never truly creating a reliable roadmap for the user. Canon is the kid in school with all the potential but never applies himself fully.

I am sorry for not being clear, but this is not what I am saying.  I am saying take the half a day to test each camera you will use yourself with the metering method you will be using in the field.  Then when you are in the field, you will know exactly how to expose with your camera so you can get it right the first time.  

I guess you get what you pay for. (i.e nothing)
If a client is embedding YT videos onto their site, or just sending out links to YT via links I'd guess they would not normally rank video presentation quality as a top priority, otherwise they would likely host their own preferred quality compressed video and player onto their own html5 site - or at least link to a embedded Vimeo link that at least has a more attractive/ custom player and non invasive pop up advertising.
saying that, it's possible to create nice presentations on YT for some projects & companies and they are currently offering some very interesting 360 VR support, as well as very high resolution playback support. But when it comes to playback quality experience, it's almost always dependant on the connection speed to the viewer.
YT only defaults to HD playback when the connection is fast enough( and often not by default even if it is fast enough), otherwise it will auto detect a lower (sometimes drastically low) quality stream to fulfil playback on everything from mobile phone to desktop. That is why sometimes it is good to use YT as a good backup way of promoting video, but better to prioritise and promote the hyperlink to the hosted video page on the clients site, or a Vimeo alternative upload to the Vimeo version may often yield better playback results - as it is less worried about loading fast on weak mobile connections, bit more likely to prioritise maintaining quality on playback...not auto switching to 360p when internet strength is weak.
if your client is complaining about how the video looks, maybe it's time to ask them to think about paying for hosting video on their own dedicated web space - where compression can be controlled/minimised or at least try a plus or pro Vimeo account as an alternate sharing platform.

So while I'm out on a gig yesterday my wife sends me a pic of 3 boxes. Obviously I was excited! So first thing I do when I get home is get rid of the shipping bulk, right? Not at all excited about my new BMPCC, a 14mm f2.5 asph lens, and my Pebble Time watch. 
Then I did the responsible thing and finished working on a Toyota spot I'm editing, and by time that was done I was looking at 2130h. Ho boy. But y'know, I've been really excited about having a portable camera, and to hell with it, I'm going to film something! Wife and screaming kid wanted to come, so we all headed to a nearby tourist trap. 
Colour Version: 
 
 
B&W Version: 
 
 
Personally, I like the B&W better, but my wife argues for the colour version. 
Things I learned with this test:
1) It definitely keeps the info in RAW, but man do I never want to touch 1600iso ever again!
2) The 14mm isn't the best cinematic choice due to the amount of reflections it has in the lens flares. 
3) Shakycam is very real with this camera, even with using my tripod as mono- and bi-pod. 
Can't wait to shoot more projects with it, hopefully with more planning and light involved!
 
 

Resolve 14 full version - been using it a ton - no crashes.
Very happy with this program.
Blackmagic is a HELLUVA company.

I have to be honest here. There is always alot of talk about how these cameras are way better than that camera etc. But never any footage. Never any reviews. Never any first hand experience.
Where is this certainty that its so good coming from? Who is the source?
I remember some BS argument when they missed the release date with a year or so. The lack of cameras was said to be because that they couldn't fill orders and all cameras went to the high end Chinese production houses and they didn't have internet or something... give me a break.
I guess Im confused because on this forum their cameras have been brought up in "which camera should I buy threads" as if they've always existed. When in fact they have rarely been for sale at all.
I don't know how many times I've seen the recommendation to buy a "battle tested" camera from them. Well Ive been on that waiting list for almost two years... lol.
I just dont see how this borderline vaporware can be so easy to recommend and compared with so little to no info about using them.
I see about 50 videos on YouTube from recently. On three different models. One or two reviews. And thats from several years. 
Personally I wouldn't take my chanses on this and instead go save with a bigger brand. But that's just me.

If you only read the title, it does.
If you actually use the camera, you'll know that it's not 4k, it's not 16:9, it has no usable live view and requires CF cards that were very expensive when the 5D3 was launched.

But then the comedy would be lost!